Indeed, I have used this film for your purpose. The most important thing to know is that it is "blue-sensitive" film. It will behave about like a panchromatic film with a blue filter.
The reasons to do this are pretty much: 1. Cost. 2. If you want a very slow film. 3. If you want a film that is blue sensitive without having to use filters. 4. If, for some reason, you need to or want to develop by inspection under a red light.
Also, purchase 3.9 x 4.9, not 4x5, from Freestyle to make it a whole lot easier. 4x5 will bow in the film holders and have to be cut down ever so much. 3.9 by 4.9 slides right in.
As for developers, David Soemarko's LC-1 formula will give you a regular-looking continuous tone negative (albeit blue sensitive, so dense skies). The color of the film will be a bit odd (yellowish-brown), but it prints like a normal neg.
My second best luck for continuous tone using litho film was Ilford or Kodak HC highly diluted, and used one shot. I started testing at my normal film dilution of 1:63, and ended up using something like 1:79 in the end. (I think Ilford's data sheet says to use 1:79 anyhow, so they were right on...although I tested with Kodak and their data sheet said nothing of it.)
Either one of these works fine for in camera stuff. If you are making interpos. and internegs for contact printing, however, the LC-1 formula is the much more controllable tool, as you can change the ratios of the three parts to control the contrast. With contact printing alternative processes, the making of the interpos. and interneg are pretty much the only way you have to control contrast from a given negative, so this is very important.
If you want me to post the LC-1 recipe, let me know. It is on page 45 or so of the Christopher James book. Cooking this stuff up is incredibly cheap and simple. Also, once you find the A:B:C ratio that you like, you can premix it and it will keep even better.
